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  1. Homer (c BC) - The Odyssey: In translation.
  2. ‘Soon Dawn appeared and touched the sky with roses.’
  4. The Odyssey: A New Translation by Peter Green

But for Wilson the epithet makes the goddess twinkly, sometimes to the point of being arch — as when she disguised as a young girl greets Odysseus when he asks for directions to the house of King Alcinous of the Phaeacians:. But the emoting and winking can become wearing. Where Wilson loses out to the Hellenising translators is in her treatment of men. The Odyssey is in part about boys maturing in time.

The main reason for this surprising start is that it is more a tale of succession and masculine identity than of adventure. Stick to the loom and distaff. Tell your slaves to do their chores as well. It is for men to talk, especially me.

Homer (c BC) - The Odyssey: In translation.

I am the master. This makes him sound more of a brat and much less of a would-be hero than he does in the Greek. This weakness in the treatment of Telemachus persists to the end. Suddenly his son is back and his grandson has emerged from the shadows and looks like a warrior. This group of men, steeped to varying degrees in years of deviousness and disguise, have in effect to transform themselves in a flash into characters who could survive in The Iliad. I will bring no shame onto your family.

You should not speak of shame. A happy day for me! My son and grandson are arguing about how tough they are! It means martial and moral excellence. At the end of the poem the male members of a fragmented household are back together, and ready to fight. The remaking of that patriarchy is emphasised by the insistent repetition of the word philos in this final episode. Telemachus calls his father philos.

‘Soon Dawn appeared and touched the sky with roses.’

Immediately before that Odysseus calls Telemachus philos. Wilson, despite being keen to squeeze life out of neutral Homeric epithets elsewhere, omits the word on all of these occasions.

The Odyssey (FULL Audiobook)

There is no shame in doing that, but it weakens the ending of the poem. The risk with that approach — which Green mostly avoids — is that Odysseus of the many wiles with the well-curled hair can sometimes sound like a bit of a bore. The claim that all translation is necessarily interpretative is on the face of it a description of the way things are rather than a precept that should determine practice.


But it is easy to slip from the belief that translation necessarily transforms the implied ideological foundations of a text to a belief that therefore a translator ought to work those transformations consciously, and deliberately pull out of a text the features that seem to matter most for the present, while downplaying others. This is what Wilson does. The result is a perceptive reading of The Odyssey , but it is also a partial one. But I would like to point out a feature of the review that reflects some problematic contemporary Anglo-American attitudes to literary translation.

Burrow notes that, like many other translators of Homer from Chapman to my contemporaries , I do some creative things with the repeated epithets of the original, and also that various characters and relationships sound different in my version from the way they sound in other modern English translations many of which, though he does not say so, are fairly similar to one another, even down to the boats on the covers.

This is quite true, but it is not true only of mine. Like ancient readers, I am interested in this text as a musical, metrical poem and as a deeply enjoyable and vivid work of immersive poetic and narrative art. Like the ancients, I am interested in what the Homeric poems have to say about ethics, society, politics, human behaviour. I do believe that the questions are prominently present in the text, as its ancient reception shows. It seems to me a very modern, arguably anachronistic idea to imagine that one could read Homer either as a non-metrical non-poem, or in an entirely historicised and distanced way, with no emotional or ethical engagement.

Burrow is within his rights to disagree with any detail of my interpretation. Like many Homerists, I would disagree; Homer, in my view, is both stylistically clearer and emotionally more complicated than many contemporary English translations convey. We can agree to differ.

The Odyssey: A New Translation by Peter Green

But it is misleading to pretend that these debatable views are not interpretations, but the objective historical truth. NOOK Book. One of the most prolific scholars of the ancient world, he is the author of both historical studies and translations of poetry, including The Poems of Catullus, Apollonios's The Argonautika, and Homer's The Iliad, all by UC Press. Read an Excerpt CHAPTER 1 The man, Muse — tell me about that resourceful man, who wandered far and wide, when he'd sacked Troy's sacred citadel: Now the rest, all those who'd escaped from sheer destruction, But now Poseidon was visiting the remote Aithiopians — Then the goddess, grey-eyed Athene, responded to him, saying: Cloud-gatherer Zeus responded to her, saying: "My child, The goddess, grey-eyed Athene, responded to him, saying: So she spoke, That said, he led the way, and Pallas Athene followed.

Then in came the arrogant suitors, and all immediately settled themselves in rows on the seats and benches, But Telemachos now spoke to grey-eyed Athene, leaning his head close to hers, so that no one else could hear him: Then the goddess, grey-eyed Athene, responded to him, saying: Sagacious Telemachos responded to her, saying: Sagacious Telemachos then responded to her, saying: Outraged by his statement, Athene responded, saying: Continues… Excerpted from "The Odyssey" by.

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Related Searches. They gasped, feet twitching for a while, but not for long. These women would have been very young, possibly minors. If the suitors wanted to have sex with them, the women would have had little choice in the matter.